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$ THE GLASS FACTORY. $
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.~-*$&¤@## SEVERAL CENTURIES AFTER IT HAD LAST ##@¤&$*-~.
..~-*$&¤@# BELONGED TO US, WE WENT ON AN OUTING TO #@¤&$*-~..
...~-*$&¤@ THE GLASS FACTORY THAT BORE OUR FAMILY @¤&$*-~...
..~-*$&¤@# NAME. IT HAD CHANGED OWNERS MANY TIMES #@¤&$*-~..
.~-*$&¤@## SINCE OUR ANCESTORS DEATH, AND THEN ##@¤&$*-~.
..~-*$&¤@# STOOD ABANDONED FOR A LONG WHILE. #@¤&$*-~..
...~-*$&¤@ FINALLY, THE NATURAL END STATION FOR @¤&$*-~...
..~-*$&¤@# THE BUILDINGS THAT SURVIVE: A MUSEUM, #@¤&$*-~..
.~-*$&¤@## AND A GIFT SHOP. ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ THERE'S A LONG TIME SINCE MY FAMILY @¤&$*-~...
..~-*$&¤@# MADE ANYTHING. BY MANY, WE WOULD BE #@¤&$*-~..
.~-*$&¤@## CONSIDERED POOR. ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ THERE ARE TWO MAIN FACTORY BUILDINGS, @¤&$*-~...
..~-*$&¤@# DOMED THINGS OF SEVERAL FLOORS, MADE IN #@¤&$*-~..
.~-*$&¤@## YELLOW BRICK. LARGE BUT NARROW WINDOWS, ##@¤&$*-~.
..~-*$&¤@# REMINESCENT OF SOME CATHEDRAL. #@¤&$*-~..
...~-*$&¤@ CUSTOM-MADE GLASS, OF COURSE, LARGE AND @¤&$*-~...
..~-*$&¤@# LEADED, AND ASHEN. A BIT TOO DARK TO BE #@¤&$*-~..
.~-*$&¤@## PRACTICAL. ON THE EASTERN BUILDING, ##@¤&$*-~.
..~-*$&¤@# SOME ARE SHATTERED. #@¤&$*-~..
...~-*$&¤@ @¤&$*-~...
..~-*$&¤@# THE OTHER ONE IS PUBLICLY OPEN. THERE'S #@¤&$*-~..
.~-*$&¤@## A MUSEUM, WITH WAX FIGURES OF MY GREAT ##@¤&$*-~.
..~-*$&¤@# GREAT GREAT GRANDFATHER, OR SOMETHING. #@¤&$*-~..
...~-*$&¤@ VARIOUS TOOLS (OR REPLICAS) LAID OUT ON @¤&$*-~...
..~-*$&¤@# TABLES, WITH EXPLAINING TEXTS. A LOT OF #@¤&$*-~..
.~-*$&¤@## GLASS OF VARYING THICKNESS. ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ $$ @¤&$*-~...
..~-*$&¤@# $$ $$ #@¤&$*-~..
.~-*$&¤@## ------- $ $ ------- ##@¤&$*-~.
..~-*$&¤@# $$ $$ #@¤&$*-~..
...~-*$&¤@ $$ @¤&$*-~...
..~-*$&¤@# #@¤&$*-~..
.~-*$&¤@## I QUICKLY SNEAK OUT, AND CLIMB INTO THE ##@¤&$*-~.
..~-*$&¤@# OTHER BUILDING. THE CONTRAST IS #@¤&$*-~..
...~-*$&¤@ OVERWHELMING. IT MUST HAVE STOOD @¤&$*-~...
..~-*$&¤@# DERELICT FOR A LONG TIME, WINDOWS #@¤&$*-~..
.~-*$&¤@## BROKEN, METALLIC TRASH AND POOLS OF ##@¤&$*-~.
..~-*$&¤@# DARK GLASS ALL OVER THE FLOOR. NO #@¤&$*-~..
...~-*$&¤@ ELECTRIC LIGHTS, BUT I CAN SEE BY THE @¤&$*-~...
..~-*$&¤@# LIGHT THAT SHINES IN WHEREVER THE DARK #@¤&$*-~..
.~-*$&¤@## WINDOWS ARE MISSING A PANE. ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ HOWEVER, THE GREATEST DIFFERENCE IS THE @¤&$*-~...
..~-*$&¤@# HIGHER FLOORS: THIS BUILDING HAS NONE. #@¤&$*-~..
.~-*$&¤@## IT IS ONE MASSIVE HALL, STRETCHING AWAY ##@¤&$*-~.
..~-*$&¤@# INFINITELY ABOVE ME. SOMEWHERE UP THERE #@¤&$*-~..
...~-*$&¤@ IS SOME GREAT IRON LATTICEWORK, FROM @¤&$*-~...
..~-*$&¤@# WHERE CHAINS ARE SUSPENDED, AND PARTS #@¤&$*-~..
.~-*$&¤@## OF MACHINERY HAS BEEN FALLING DOWN. ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ THERE IS, IN THE MIDDLE OF THE GREAT @¤&$*-~...
..~-*$&¤@# HALL, A THIN SPIRAL STAIRCASE THAT #@¤&$*-~..
.~-*$&¤@## LEADS UP THERE. I SNEAK OVER THERE, AND ##@¤&$*-~.
..~-*$&¤@# TAKE A FEW RELUCTANT STEPS. AFTER JUST #@¤&$*-~..
...~-*$&¤@ A REVOLUTION, I NOTICE THAT FOR EACH @¤&$*-~...
..~-*$&¤@# STEP THE BUILDING STARTS TO GLOW, THE #@¤&$*-~..
.~-*$&¤@## BRICKS TURNING A DARK RED, AND THEN ##@¤&$*-~.
..~-*$&¤@# ORANGE, ALL THE PILED UP DEBREE BEING #@¤&$*-~..
...~-*$&¤@ LIT FROM BEHIND. @¤&$*-~...
..~-*$&¤@# #@¤&$*-~..
.~-*$&¤@## I STOP READY TO RUN DOWN AND OUT, BUT ##@¤&$*-~.
..~-*$&¤@# THERE'S SOMEONE ELSE ON THE STAIRCASE #@¤&$*-~..
...~-*$&¤@ WITH ME NOW, PRESSED CLOSE. HE'S @¤&$*-~...
..~-*$&¤@# LOOKING LIKE ME, SHORT HAIR AND THIN #@¤&$*-~..
.~-*$&¤@## ARMS, BUT WITH EARS FROM SOME ANIMAL, ##@¤&$*-~.
..~-*$&¤@# AND MORE DISTURBINGLY, COMPLETELY MADE #@¤&$*-~..
...~-*$&¤@ OF DARK LIQUID GLASS. @¤&$*-~...
..~-*$&¤@# #@¤&$*-~..
.~-*$&¤@## $$ ##@¤&$*-~.
..~-*$&¤@# $$ $$ #@¤&$*-~..
...~-*$&¤@ ------- $ $ ------- @¤&$*-~...
..~-*$&¤@# $$ $$ #@¤&$*-~..
.~-*$&¤@## $$ ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ MY FEAR HOLDS ME IN PLACE WHILE HE @¤&$*-~...
..~-*$&¤@# STARTS OPERATING LEVERS AND DIALS SET #@¤&$*-~..
.~-*$&¤@## IN THE CENTER OF THE STAIRCASE. SLOWLY, ##@¤&$*-~.
..~-*$&¤@# IT STARTS SPINNING, CIRCLING UPWARDS. #@¤&$*-~..
...~-*$&¤@ IT'S AN ELEVATOR! I START TO RUN @¤&$*-~...
..~-*$&¤@# DOWNWARDS, BUT NOW THE LIQUID BOY #@¤&$*-~..
.~-*$&¤@## CREATURE GRABS HOLD OF ME. I TRY TO ##@¤&$*-~.
..~-*$&¤@# SHAKE HIM OFF, BUT HE'S TOO STRONG, AND #@¤&$*-~..
...~-*$&¤@ PULLS ME BACK UP BESIDE HIM. @¤&$*-~...
..~-*$&¤@# #@¤&$*-~..
.~-*$&¤@## THIS TIME, I TURN ANGRY INSTEAD. WHAT ##@¤&$*-~.
..~-*$&¤@# THE HELL? WHO IS THIS GUY, ACTING LIKE #@¤&$*-~..
...~-*$&¤@ THIS? I REACH OUT MY FREE ARM AND SLAM @¤&$*-~...
..~-*$&¤@# A RANDOM LEVER. SOME METAL BAR IS #@¤&$*-~..
.~-*$&¤@## SUDDENLY RELEASED BETWEEN US, HITTING ##@¤&$*-~.
..~-*$&¤@# HIM ON THE ARM, FORCING MY RELEASE. I #@¤&$*-~..
...~-*$&¤@ SHOVE HIM OFF OF ME, AND HE FALLS INTO @¤&$*-~...
..~-*$&¤@# THE LEVERS, MESSING THEM UP. #@¤&$*-~..
.~-*$&¤@## IMMEDIATELY, A THIN RUSTY CHAINMAIL ##@¤&$*-~.
..~-*$&¤@# CURTAIN IS DROPPED AROUND ME. BUT THE #@¤&$*-~..
...~-*$&¤@ ELEVATOR ALSO SPEEDS UP SIGNIFICANTLY. @¤&$*-~...
..~-*$&¤@# #@¤&$*-~..
.~-*$&¤@## THE WALLS ARE FLARING NOW, YELLOW, ##@¤&$*-~.
..~-*$&¤@# WHITE, ALMOST BLUE. I CLOSE MY EYES AND #@¤&$*-~..
...~-*$&¤@ CURL INTO A BALL. BUT THEN, THE GLASS @¤&$*-~...
..~-*$&¤@# BOY SCREAMS, A PIERCING SOUND THAT #@¤&$*-~..
.~-*$&¤@## FORCES MY EYES BACK OPEN. I WATCH AS HE ##@¤&$*-~.
..~-*$&¤@# BECOMES TOO LIQUID, HIS BODY POOLING #@¤&$*-~..
...~-*$&¤@ DOWN IN HIS NOW MASSIVE TAIL, AND THE @¤&$*-~...
..~-*$&¤@# TIP OF IT SUDDENLY BREAKS OF IN A GLASS #@¤&$*-~..
.~-*$&¤@## DROP THAT FALLS TOWARD THE FACTORY ##@¤&$*-~.
..~-*$&¤@# FLOOR. #@¤&$*-~..
...~-*$&¤@ @¤&$*-~...
..~-*$&¤@# HE'S CRAWLING ON THE STAIRS, UNABLE TO #@¤&$*-~..
.~-*$&¤@## KEEP HIS BODY UPRIGHT. CAN'T REACH THE ##@¤&$*-~.
..~-*$&¤@# LEVERS, CLAWS AT MY CHAINMAIL CAGE, #@¤&$*-~..
...~-*$&¤@ WHILE HIS BODY IS TURNING INTO DARK @¤&$*-~...
..~-*$&¤@# PEARLS. FINALLY, HE'S LOST TOO MUCH OF #@¤&$*-~..
.~-*$&¤@## HIMSELF AND THE SCREAM IS CUT SHORT. ##@¤&$*-~.
..~-*$&¤@# THE LAST OF HIM RAINS DOWN. #@¤&$*-~..
...~-*$&¤@ @¤&$*-~...
..~-*$&¤@# I STILL CAN'T REACH THE LEVERS FROM #@¤&$*-~..
.~-*$&¤@## WITHIN MY CAGE. LOOKING UP, I TRY TO ##@¤&$*-~.
..~-*$&¤@# MAKE OUT THE CEILING, BUT IT'S ALL A #@¤&$*-~..
...~-*$&¤@ WHIRLING SEA OF COLOURS. BELOW ME GLOWS @¤&$*-~...
..~-*$&¤@# THE HELLFIRE OF THE FACTORY WALLS, BUT #@¤&$*-~..
.~-*$&¤@## VERY FAINT. I SIT DOWN, CURL BACK UP, ##@¤&$*-~.
..~-*$&¤@# BECOME STILL. #@¤&$*-~..
...~-*$&¤@ @¤&$*-~...
..~-*$&¤@# $$ #@¤&$*-~..
.~-*$&¤@## $$ $$ ##@¤&$*-~.
..~-*$&¤@# ------- $ $ ------- #@¤&$*-~..
...~-*$&¤@ $$ $$ @¤&$*-~...
..~-*$&¤@# $$ #@¤&$*-~..
.~-*$&¤@## ##@¤&$*-~.
..~-*$&¤@# A LARGE CLUNK SHAKES MY ENTIRE BODY, #@¤&$*-~..
...~-*$&¤@ AND SNAPS ME BACK INTO REALITY. I'M @¤&$*-~...
..~-*$&¤@# BACK AT THE FACTORY FLOOR, BUT THE #@¤&$*-~..
.~-*$&¤@## STAIRS ARE STILL MOVING SLIGHTLY, ##@¤&$*-~.
..~-*$&¤@# CLICKING IN PLACE, CARRYING ME THE LAST #@¤&$*-~..
...~-*$&¤@ FEW CENTIMETERS. I CAME FROM BELOW, @¤&$*-~...
..~-*$&¤@# SOMEHOW. THE CHAINMAIL IS RETRACTED, #@¤&$*-~..
.~-*$&¤@## AND I SLOWLY DISMOUNT THE STAIRS. ##@¤&$*-~.
..~-*$&¤@# #@¤&$*-~..
...~-*$&¤@ SHAKING AND CRYING, I MAKE MY WAY OVER @¤&$*-~...
..~-*$&¤@# THE FACTORY FLOOR, WADING THROUGH DARK #@¤&$*-~..
.~-*$&¤@## GLASS MARBLES. A QUICK GLANCE DOWN, AND ##@¤&$*-~.
..~-*$&¤@# I SEE THERE'S SOMETHING FAINT INSIDE #@¤&$*-~..
...~-*$&¤@ THEM. EMBRYOS? ARE THESE EGGS? @¤&$*-~...
..~-*$&¤@# #@¤&$*-~..
.~-*$&¤@## I SHUDDER, AND CLIMB BACK OUT. ##@¤&$*-~.
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